It's always a good day when new Wire product comes out. They really should do it more often! Double purchase of album and King Tuts tickets today..puts a spring in the step of any self-respecting 47-year-old Glaswegian

Having listened to a proper version now, my opinion of the first half of the album has improved notably (multiple listens almost certainly helped, too). I still think the second half is much stronger, but there isn't as much drag as I initially perceived between "Blogging" and "Joust & Jostle." Of the Matt Simms albums, this one still doesn't better CBU, but it is probably a slight cut above RBT.

"Harpooned" is probably the only track on the album that has that "blimmin' eck" factor on it when you hear it the first time. Graham is particularly adept at providing this - the other day I listened to "Feed Me" for the first time in a while and realised what a brilliantly stark track it is.

The new album gets better with every listen. Knee jerk reactions are not needed here, folks. Other than the slight mis-step of a couple of tracks on Object 47 (which Craig G has mysteriously christened me) Wire have been brilliant from Send onwards. And Colin Newman is a truly genius producer.

Having played the new album non-stop at home, in my car and on my mp3 player, I would agree that there is a distinct whiff of Mike Thorne-like production a la Chairs Missing. However, I would disagree with the synths vibe, as I believe they are quite low in the mix in contrast to the heavier, up-front guitar sound. Top tracks for me are Joust & Jostle, High, In Manchester Octopus and Swallow. Looking forward to my Friday night of sweaty pogo-ing (if my back holds up) at the Lexington.

Is it my ears? (I doubt it) but do Rob's drums sound muffled in the mix. The hi-hat and cymbals lack any top range and snare drum has no attack; theirs no dynamics to the overall drum sound. Maybe that's what they wanted, Also whilst there is a bass presence in Graham's playing this too sounds muddy and indistinct in places.Don't get me wrong I love the album and have played it on heavy rotation but these sonic anomalies leave me less happy with the production overall. Change Becomes Us didn't suffer from this and sounds very panoramic sonically whereas the new album sounds very compressed in areas.

I thought the drums this time sounded a bit more natural than usual, as if they'd been messed about with less rather than more during production. The main thing I question is that somewhat soupy chorus effect that now seems welded to all every Wire vocal.

As for the album itself, Blogging, In Manchester and Harpooned are my current faves. (And given my profession much of the time these days, the first of those has text I'm choosing to interpret in a very specific manner, relating to the self-importance of certain commentators!)

The production does sound different to previous recent albums. But from Send onwards they've all had a different vibe. I assume that's Colin's intention: a la the Wire philosophy of keep moving forward, never stay the same.

Sad to say, but if I'd not been into Wire back in the day, & I heard this, CBU & RBT, I wouldn't be invigorated to delve into their back catalogue! Last Wire lp I really liked, which not many on here do, was O47! I could pick & choose trax from the last three lp's to make really good 4 track, 12" ep's!

sad to say, but true, however......I'll be there in a couple years time for next release & I'll be there on the next tour as well! As much as Wire's current output doesn't touch me as previous releases, I still think they're 'important' & worthwhile as they release challenging & thought provoking music (& texts), not aimed at the masses or the charts.

I don't feel this is negative, just how I feel - they remain in my top 5 (music) artists!

The thing I find about Wire in their current form is the subtle shifts from album to album...but still remaining Wire on their own terms. Most of the product since the Send era stands up brilliantly next to the halcyon Pink/Chairs/154 days. Relevant, modern, vibrant, cynical.

And to these ears ''modern' Wire wipes the floor with most of the 80s and early 90s recording. An era in which the technology of the times ripped the heart out of the band and lost the drummer along the way.

My main point is that Wire in 2015 are magnificent and the new album merely rubber stamps this theory I've held for the last few years. Fact is: Wire in the 21st century could have been a disaster, but they've ridden the storm of Bruce Gilbert' s exit and have become more vital than at any time in their history

Stephen - I'd agree with you on Wire being magnificent in 2015 and unlike garage band, Wire are, and probably will always be my No1 favourite band not just Top 5.

However, I disagree with the 2nd paragraph, on the subject of Wire in the 80s/90s. I think that despite their band issues and the loss of Robert for one LP, they recorded stuff just as good as the Harvest years and as good as the recent recordings too! I know the 80s/90s Wir(e) has been discussed heavily in the forum and there will always be the die-hards who like me grew up in their teen years with Pink Flag etc and didn't like the technological reboot of Wire back then. For me, I loved it when John Peel referred to them in 1991 as now being "pseudo-House".

However, my favourite Wire song of all time, which I think will never be beaten is "Nice From Here" a b side of So And Slow It Grows. I want that played at my funeral! Roll on Friday and the Lexington!